An Iraqi playwright comments on the difficulties of writing about today’s violence in a climate of suspicion and censorship..
Hassan Abdulrazzak
The National Theatre was lit up in the colors of the Ukrainian flag but so far has remained silent about the genocide in Gaza. In fact, very few theatres or companies have issued statements in support of Palestinians. One exception has been Arcola Theatre, which programmed the multi-author show Cutting the Tightrope: The Divorce of Politics from Art, instigated in response to the Arts Council England warning arts companies and those who work for them from making “overtly political or activist” statements. It later emerged this was done after discussions with the government to prevent artists speaking out against the war on Gaza. Even before this revelation, we all knew why the policy revision was made. I was approached by director Cressida Brown to contribute to the show. The murder of six-year-old Hind Rajab was a story that I found particularly moving and I wanted to dramatize it in such a way as to address the issue of censorship surrounding Palestine. The result was Dare Not Speak. The show succeeded through a combination of word-of-mouth, social media posts and the odd review. It will return to Arcola Theatre in September 2024.
One-Act Play: Dare Not Speak
NATALIE
I’m really sorry Hind, it’s taken us this long to meet.
HIND
Eight months.
NATALIE
The rebrand just … argh … and the budget cuts, don’t get me started on the budget cuts … anyway we’re here now … I am all ears.
HIND
Shall I just go into it?
NATALIE
I don’t mean to rush you, it’s just I have a meeting with the board after this. Are you comfortable? Do you need water?
HIND
I am fine.
NATALIE
Shoot.
HIND
A little girl gets in a car with her uncle, aunt and cousins and they drive south. They are fleeing the occupying army which is shelling the north where they live. Their conversation is about the fighting, yes, but also about more mundane things: what they forgot to pack, the merits of practicing trigonometry even though schools have shut, should they listen to the news or to a song to calm their nerves, that sort of thing. Suddenly, the car is shot by an army tank, killing the uncle, aunt and four cousins. One of the older cousins who survives calls the Red Crescent. “They are shooting at us. We’re in the car, the tank is right next to us” Later, while the cousin is on the phone, she is shot dead by a soldier raking the car with his machine gun. When the dispatchers call back, only the little girl is left alive. She stays on the line with the Red Crescent for three hours, telling the dispatcher “I’m so scared, please come. Come take me. Please, will you come?” When the Red Crescent ambulance crew finally arrive, they find the little girl dead. The play is basically the last day of the little girl’s life condensed into an hour and a half.
NATALIE
Wow. Okay. I read that story in the news. Remind me of the girl’s name?
HIND
Hind.
NATALIE
Like your name.
HIND
She’s me.
NATALIE
Yes, I see. She’s all of us.
HIND
No, she’s really me.
NATALIE
I don’t … oh … you’re …
HIND
Yes.
NATALIE
Dead?
HIND
Murdered.
NATALIE
Wow. Okay, that puts a whole different spin on it. How come you’re an adult?
HIND
I’ve had a whole life after death.
NATALIE
Look, as you know we’re a very progressive theatre. We’ve programmed the work of all sorts of writers. We pride ourselves on being very diverse. But I have to say we haven’t programmed a writer that has been killed.
HIND
Murdered.
NATALIE
And who pitched their story to us from beyond the grave. This is a first.
HIND
So you’ll stage it?
NATALIE
The story seems more suited to film than stage. I mean with the car and the tank and the guns.
HIND
No film producer wants to touch it.
NATALIE
Yes, well … The subject matter, it’s sensitive/
HIND
Censored.
NATALIE
We can’t make overtly political or activist statements. It could damage our reputation. We want to do something about the conflict/
HIND
Genocide.
NATALIE
But we can’t do something so direct. And to be frank with you, while the story of the little girl/
HIND
my story.
NATALIE
Sorry, your story. While it’s moving…it’s a little how can I put it? … on the nose.
HIND
In real life, when the ambulance turned up, the entire crew was murdered by the occupation soldiers.
NATALIE
I can see you tried to tone it down but still, it’s too on the nose.
HIND
You had a play set during the Second World War last season, why wasn’t that considered on the nose?
NATALIE
Ah … that’s … that’s different. The subject is very popular with our audience. They feel it’s about the core of who they are.
HIND
My play is about them also because their tax money pays for the occupier’s weapons.
NATALIE
It’s not the same. And besides our play showed no violence, it was all implied.
HIND
I told you the story but I didn’t tell you how I’ve treated it. It‘s written from my perspective as a child. The events happening around me are mixed with things imagined, with fragments of stories, with songs, with puppets. We never see the soldiers.
NATALIE
That’s good. I’ll tell you what, send me a draft and we’ll take a look.
HIND
When would you get back to me?
NATALIE
We’re snowed under.
HIND
Another eight months?
NATALIE
At the very least.
HIND
You have no intention of programming it, do you?
NATALIE
We could commission you to write something else. We are very interested in working with a writer who represents the community of the dead.
HIND
Murdered.
NATALIE
I can’t use that word. You know that.
HIND
Not even here, in private?
NATALIE
If I use the word then it means I have taken a side in this conflict.
HIND
Genocide.
NATALIE
I can’t use that word either, I’m afraid. Sorry.
HIND
Your funders will not allow my story to be told, will they?
NATALIE
It’s not like that/
HIND
isn’t it?
NATALIE
It’s more the board. They have to approve.
HIND
Surely the final decision is with you.
NATALIE
I have to get going. Send me the play. We might have a one-day reading of it in the basement.
HIND
And I should be grateful for that?
NATALIE
It’s the best I can do.
HIND
I was murdered, in a genocide and I could easily be forgotten because when it comes to my people, you lot suffer from permanent amnesia. I believe in the power of stories, I believe in their potential to save lives. Perhaps if my story is better known, it will motivate more people to prevent the next genocide.
NATALIE
I can’t program your play. I want to but I can’t. I’m on your side.
HIND
How about I tell the story from the perspective of my pet hamster?
NATALIE
Interesting.
HIND
It will be the story of a pet hamster trapped in a car for reasons unknown, with only her human owner for companion. I’ll make no mention of occupation, genocide or murder. Is that better?
NATALIE
Much. Metaphor is so powerful.
HIND
I wasn’t being serious.
NATALIE
I really have to go. Do you have far to get back?
HIND
I’m dead. So I’m kind of everywhere.
NATALIE
I know what you mean, I’m between flats right now myself. Good luck with the writing.
HIND
Natalie …
NATALIE
Yes.
HIND
My story will have a life. Even if you don’t allow it on your stage. It will haunt your dreams.
NATALIE
Is that a threat?
HIND
No. A premonition.
The End
Hassan Abdulrazzak is working on a musical about the arms trade called The Shadow World.
